The Madrid exhibition, which preserves the largest collection in the world of Hieronymus Bosch and just opened by the V luctuoso centenary major retrospective Bosch, dismissed the Dutch committee diagnosis as false three of his works: the the Seven Deadly sins and the Four Last Things, the temptations of San Antonio Abad and extraction of the stone of madness. Process was present at the conference at the Museo del Prado.
MADRID (process) .- The Prado Museum unveiled the exhibition of the V Centenary of luctuoso Bosco, the first monograph of the painter in Spain, in a press conference on Friday the 27th, which gave its official response-based on scientific evidence and technical studies to reject the conclusions of Bosch Researsch and Conservative Project (BRCP) Netherlands that “desatribuye” Jerome Bosch authorship of three of his works.
the Spanish retrospective extraordinary contains 21 paintings and eight original drawings, which constitute 75% of its production preserved in the world as well as engravings, reliefs, miniatures and paintings by other authors that contextualize the environment in which they were conceived.
the work of the famous museum and National Heritage-entity public the government of Spain to retain the largest set of originals Bosch, inheritance of Philip II, loans assembled for the first time, as the triptych the temptation of St. Anthony Abbot Lisboa Antiga Museum, Christ way to Calvary Monastery add El Escorial, Crowning with thorns of the National Gallery in London and drawing the Man-tree Albertina in Vienna.
this extraordinary catalog and scientific and technical studies, those responsible for the Museo del Prado responded to the scientific project on the work of Hieronymus Bosch, born in Hertogenbosch, in the current Netherlands- promoted by the Noordbrands Museum, which concluded that three works guarded by El Prado were not true artist and were “probably painted by one of his disciples”, as reported by Anne-Marie Mergier correspondent in the edition 2064 of this weekly.
in 2015 had issued his diagnosis of the Seven Deadly sins and the Four Last Things. And in February this year its conclusions of The Temptations of San Antonio Abad and extraction of the stone of madness they met.
Miguel Falomir Faus, Deputy Director of Conservation and Research Prado says:
“We respect the conclusions of our Dutch colleagues, but any existing share. We still believe that the three works in question are of Bosco and we challenge today when we present our catalog and thus give publicly the official position on these works.
“If the Museo del Prado rejects is not by any kind of immobility or to defend swashbuckling their collections, because when the museum has been shown you in the past that some work is not the authorship stated, we have not had no qualms about switching to the correct attribution. Even major works such as the splendid portrait of the Infanta Margarita, who admired Dalí, and until recently attributed to Velazquez, a compelling study that found that the responsibility belonged to his son Juan Bautista Martinez de Mazo and became as such is presented today in the Museo del Prado. “
the expert recalled that read and studied the findings of the Dutch study,” but not convinced us “, and explains that own research of the Museum Prado was based on three arguments, scientific nature, documentary nature and technicians in specialized art, and “with any of these arguments denying authorship of Bosco of these works”.
in the scientific study applied the latest techniques dendroconología, who studies the exact age of the wood of a work analyzing their growth rings, and “in all three cases the fork of using these tables is compatible with the time production of Bosch “.
for extracting stone of madness,” also dendrochronology is consistent with the life and activity of Hieronymus Bosch, gives a date dating from 1488 and the Dutch say that it is a copy of a lost original, “he says.
as for the temptations of San Antonio Abad, states that the table was dated 1505:
“These strong scientific evidence shows that chronological forks quite match with showing the Prado Museum and denies the BRCP.”
explained that the chemical cabinet museum conducted an analysis pigment of the disputed works, “and none of these pigments or materials are alien to those used in other works of Hieronymus Bosch. Of course, these scientific studies do not tell you who has painted the work, do tell you who’s not been painted, “referring to the subsequent alleged in those tables.
And since the Bosco dated his works and there are documents that are kept on them, recalled the inability to conduct a study of this nature:
“the next documentary reference, which is in relation to the the Seven Deadly sins and the Four Last Things, which wields BRCP comes from a document that Felipe de Guevara sent Philip II, which is present in the exhibition, and speaks of a ‘wannabe teacher’ who enrolled in his paintings the name of the Bosco … “.
But the spokesman Prado, Falomir Faus, opinion when the expression is interpreted” painting genre “referred” to this type of observantísimas paintings of decorum while the BRCP marks them as paintings of imitators, whose category in its discretion enter the the Seven Deadly sins and the Four Last Things “:
“as I say, all who are native speakers of Spanish, the be interpreted as the first of the ways, but even accepting as good the conclusion of BRCP, Felipe de Guevara was a good collector, but no mode is an infallible person: in fact, when you see their inventory of goods, he says he has a work of Hieronymus Bosch in his own hand, which is the hay Wain, and today we know that this work is not that of Hieronymus Bosch , preserved in El Escorial, but a later version. Guevara said he canvases the author, but at least today none is preserved. “
In the” contemplation of the work “, the specialist in art history and curator of exposure, Pilar Silva Maroto, said that the works questioned did not occur on oak, but on poplar wood, which is lighter than that and allows handling.
” it is the only work of Hieronymus Bosch and other painters of the time that we hold in this type of wood. And it’s worked in a different way that never did paint shops, it is made to anti-beta. They are horizontal boards that do not have ears between them and are not meant to be framework; on the side of the front you can see … the deadly sins is painted like a frame of a green tone. “
He argues that the above tables” have a common preparation the works of Hieronymus Bosch, with ridges and tilt on clear gray tones or minimum pigments, coinciding with the final stage, from 1505, and have countless compatible with their works of this period, like the hay Wain “elements.
in retrospect, he says, both the Seven Deadly sins and the Four Last Things like the temptations of San Antonio Abad and extraction of the stone of madness show a characteristic of the artist, which is “not repeated and show their capacity for invention and originality, which is the leitmotif of Hieronymus Bosch. Here we find that most jobs are not processed in the same way in all the work, although working from the bottom up and see how it goes modeling on the surface. “
reflectography also notes that allowed them to see that in these works space with “touches very characteristic of him” work, as he did in the hay Wain, giving “shadows and outlining his touches. That is, there is nothing to indicate that it is not the Bosco “.
The specialist believes that by studying the style in the last stage of the artist, the team of Madrid museum concluded that they used thicker, characteristic of the final stage brushes.
“There is no doubt that we are facing El Bosco and nobody but him, no one would be able to make a composition like this. No one. And least that unnamed disciple … “
says the studies allowed shed the existence of” underdrawings “as a sort of” modeling “even said that the poor quality of the surface allowed them to realize that the painter used a second layer underlying drawing on the work exhibited.
the study was done in the temptations of San Antonio Abad, says research the pigments that were made in the laboratory and cabinet discovered added to transform the work they did in the nineteenth century, then on arrival at the Museo del Prado in 1939.
it also indicates the painting underwent extensive restoration and “allowed us to see the work in origin.” They also found that the work suffered a “conservation problem” in the paint layer, which affected the saint, and became a “historic action” around 1530 or 1540, adding to the original work foliage on trees in the top of the painting. Radiography, however, shows the original scene.
Falomir Faus, who says that El Prado has been preparing for this retrospective for twenty years, “because these tables have been continuously restored the newest techniques, “says that all these scientific and technical contributions make them reject the Dutch diagnosis.
” Scientifically there is nothing that is against, extracting stone madness can not be a copy, unless the copyist could see on the work exhibited all the changes that were made before its own conclusion, not being Superman could do seeing the degree of participation in the work. You can not say that it is not the work of Hieronymus Bosch. “
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The original set of works by Hieronymus Bosch which houses El Prado from 31 May to 11 September, is organized into six sections to fix the difficulty raised their chronology, the lack of documentation of the painter’s work. The exhibition was distributed in thematic sections: Children and public life of Christ; The Saints; Paradise to Hell; “The Garden of Earthly Delights”; World and man: Deadly Sins and secular works, and The Passion of Christ
The exhibition also includes works made in the workshop of the Bosco or followers from lost originals. . Another group of works, which include paintings, miniatures, engravings graver Alart du Hameel, reliefs Adrien van Wesel and the manuscript of Commentary painting Felipe de Guevara can “understand the environment in which the paintings were gestated Hieronymus Bosch, the personality of one of his employers as Engelbert II of Nassau or the assessment that was made of his painting in the sixteenth century, “said Commissioner Silva Maroto.
Between the six works that guards the Prado Museum highlights the iconic the garden of Earthly Delights, the adoration of the Magi and the hay Wain. To these are added the way to Calvary Monastery of El Escorial, which owns Spanish National Heritage and San Juan Bautista Lázaro Galdiano Foundation.
also they contributed their museums works of Lisbon, London, Berlin, Vienna, Venice, Rotherdam, Paris, New York, Philadelphia and Washington.
the Deputy Director of Conservation and Research museum argues that the work of El Bosco “in a a long time is an inescapable presence in the museum “and the room of the artist is one of the busiest, the garden of Earthly Delights is impacting longer visitors to the museum.”
Remember that in 2000 the garden of Earthly Delights was exposed after a thorough restoration process. The same happened at the time with the presentation of two works after a hard work of restoration, as was The temptations of San Antonio Abad and “rosette work” The Adoration of the Magi, who did not arrive in the best conditions:
“so we can say that the exhibition is not only gorgeous, but necessary.”
And that “is Bosch at its best “while acknowledging that there is still much to do for the study of his work.
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